Anti-paysage is a total, holistic plunge into sonic abstraction, freed from any predictable, familiar narrative form. The sounds, both synthetic and natural (here we’re talking about recordings as much as acoustic performances on percussion, piano or flute), exist in a structural nebula whose logical delimitation is hard to find. That said, what’s pleasing about DeLio’s aesthetic is the liberating bareness of his creations. The exact opposite of noise and its overbearing tendencies, DeLio’s Miró-esque abstraction (imagine paintings by the Catalan painter translated into sound) is imbued with poetry, translucent dreaminess and benevolence. You’re tickled, gently titillated, never rushed.
There is almost as much silence as there is music, which has to be listened to in the best possible conditions so as not to lose a single snippet, often whispers bordering on the inaudible. We sometimes are reminded of some of Pierre Henry’s early works, but in a more esthetic and ornemental care.
DeLio’s excellent and optimistic post-Cage music will gently caress the most adventurous ears.
